Der ehemalige Mitarbeiter einer eher Independent-Videothek über den Niedergang seiner Branche durch Algorithmus-„Kuratoren“ wie Netflix, die Parallelen zur Medienbranche kann jeder selbst ziehen: I worked in a video store for 25 years. Here’s what I learned as my industry died.
With online streaming, we don't decide — we settle. And when we aren't grabbed immediately, we move on. That means folks are less likely to engage with a film on a deep level; worse, it means people stop taking chances on challenging films. Unlike that DVD they paid for and brought home, a movie on Netflix will be watched only so long as it falls within the viewer's comfort zone. As that comfort zone expands, the desire to look outside of it contracts. […]
Our customers were losing the people who'd helped shape their movie taste, who'd steered them toward things we knew they'd like and away from things they didn't know they'd hate. We were losing the people that we, in our small way, had been able to help. We were all grieving the loss. […]
A great video store's library of films is like a little bubble outside the march of technology or economics, preserving the fringes, the forgotten, the noncommercial, or the straight-up weird. Championed by a store's small army of film geeks, such movies get more traffic than they did in their first life in the theater, or any time since. Not everything that was on VHS made the transition to DVD, and not every movie on DVD is available to stream. The decision to leave a movie behind on the next technological leap is market-driven, which makes video stores the last safety net for things our corporate overlords discard. (That's why the chain stores died first — like Netflix, they peddled convenience and "all new, all the time" — Netflix came along and just did what they did more efficiently.) A real video store buys a movie and saves it, regardless of such considerations. […]
to make it in the age of Netflix, video stores’ only hope is to become a vanity project, a sentimental choice for those willing to forego the lure of "good enough" — as viable commercial entities, they’re finished.
Indie-Media-Lessons from Music and Games: Lessons from the PC video game industry („The future of media is here — it’s just not evenly distributed“) und Independent Music Is Big. Really, Really Big. („PC Gaming Is Just Like Independent Music“).
Intermission: Desperate Journalist – Cristina
What can digital media learn from magazines? (A lot.): „I think that magazines have other defining characteristics which are very relevant in digital media today, and those are Design, Voice, Community, and Slowness.“
Gawker stellt sich neu und politischer auf: „The new strategy will see the elimination of the company’s numerous sub-blogs across its seven main brands and the repositioning of its flagship site, Gawker.com, as a politics-focused publication. The company plans to hire six new staffers to execute on its redefined editorial strategy.“ Mehr zum Gawker Walahaboo: Gawker's Kinja retreat is more evidence publishers struggle as tech companies.
Why Gawker doesn't fight ad blockers: „You're never gonna stop it.“
Actually, it's about The Ethics of Virtual Reality Storytelling.
Virtual Reality Journalism: „This guide offers an instructive look at what it takes to make virtual reality journalism really *work,* using an original case study from Frontline PBS.“
Jennifer Grannick (Director of Civil Liberties at Stanford Law School) über The End of the Internet Dream: „Today we’ve reached an inflection point. If we change paths, it is still possible that the Dream of Internet Freedom can become true. But if we don’t, it won’t. The Internet will continue to evolve into a slick, stiff, controlled and closed thing. And that dream I have — that so many of you have — will be dead. If so, we need to think about creating the technology for the next lifecycle of the revolution. In the next 20 years we need to get ready to smash the Internet apart and build something new and better.“